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THE    BOOK 


O  F 


OPERA   STORIES 


Tells  the  stories  of  the  operas  announced  to  be 
sung  here  this  season  in  such  a  way  that  the 
reader  can  identify  the  principal  characters 

Rhinegold  has  been  added  because  it  is  necessan,- 
to  an  understanding  of  the  succeeding  "Ring" 
operas  and  the  unusual  interest  in  Parsifal  at  this 
time  justifies  its  being  included 


PRICE  2>  CENTS 


or  THE 


r  M  I  \J  ?■  .")  i^l  -r  V 


-) 


PUBLISHED     BY 


MARIAN     E.    GREENE 

269  Dearborn  Street 

Chicago 


COPYRIGHTED 

1904 

BY 

Marian    E.   Greene 


1     'V' 


INDEX 


TITLE 

Barber  of  Seville.  The 

Carmen 

Cavalleria  Rusticana 

Das  Rheingold 

Der  Ring  des  Nibelungen 

Dictionary  of   "Ring"   Operas 

Die  Gotterdammerung 

Die  Walkure      .... 

Faust  

La  Tosca 

L'Elisir  d'Amore 
Les  Dragons  de  Villars 
Lohengrin  .... 

Magic   Flute,  The 
Marriage  of  Figaro,  The 
Mefistofele  .... 

Parsifal 

Siegfried 

Tannhauser         .... 
Tristan  and   Isolde 


COMPOSER 

PAGE 

Rossini 

7 

Bizet 

8 

Alascagni 

9 

li'agner 

26 

23 

24 

Wagner 

29 

Wagner 

27 

Gounod 

lO 

Puccini 

1 1 

Donizetti 

12 

Mai  Hart 

13 

Wagner 

i8 

Mozart 

14 

Mozart 

15 

Boito 

17 

Wagner 

19 

Wagner 

28 

Wagner 

21 

Wagner 

22 

oOhb 


THE  BARBER   OF  SEVILLE.  Composer.  Rossini. 

IL  BARBIERE  DI  SIVIGLIA.  ^'"''  ^^'"''  .^p^'"* 

Many  of  the  characttrs  in  this  opera  reappear  in  the  Marriau^e  of  h'igaro. 

Count  Almaviva.  uinlcr  the  name  of  Lintlor.  is  wooinij^  Rosina, 
the  iieautiful  ward  of  Dr.  llartolo.  The  doctor  himself  has  liopes  of 
winning  Rosina  and  guards  her  closely ;   but  love  will  find  a  way. 

ACT  L  Count  Almaviva  and  some  friends  serenading  Rosina ; 
as  the  friends  leave,  Figaro,  singing  "Largo  al  Factotum"  ("Make 
Way  for  the  Factotum")  enters,  and  the  count  tells  him  of  his  infatu- 
ation for  Rosina.  Figaro  promises  to  help.  Rosina  appears  on  the 
balcony ;  liartolo  soon  follows ;  she  manages  to  drop  a  note  to  Lindor. 
Figaro  suggests  a  stratagem  by  which  the  count  may  get  into  Bar- 
tolo's  house :  He  is  to  don  the  uniform  of  a  soldier  and,  presenting  a 
billet  from  the  military  authorities  quartering  him  upon  Dr.  Bartolo, 
simply  go  there  and  settle  down  for  a  siege  of  the  damsel's  heart. 
The  count  is  to  feign  drunkenness,  as  the  doctor  will  be  less  likely 
to  suspect  him.  Figaro  finds  Rosina  alone  and  tells  her  he  has  news; 
before  he  can  deliver  his  message,  Bartolo  and  Basilio  enter  and, 
thinking  they  are  alone,  discuss  means  of  destroying  the  counts  pres- 
tige with  the  maiden.  Basilio  suggests,  in  the  famous  Calumny  aria, 
that  they  spread  some  malicious  report  in  regard  to  the  count ;  it  will 
soon  reach  Rosina's  ears,  and  she  will  dismiss  him.  Figaro  has  over- 
heard them,  and  he  discloses  the  scheme  to  Rosina.  He  pictures 
Lindor's  impatience  and  hints  that  a  note  from  her  would  raise  him 
to  the  heaven  of  delight ;  the  fnodest  senorita  could  not  even  think 
of  writing  to  a  man  !  Figaro  persists.  She  will — maybe — perhaps — 
consider  it.  And  then  she  calmly  draws  from  her  bosom  a  note 
already  written  to  him.  Figaro  makes  haste  to  deliver  it.  Enter 
Bartolo,  suspicious.  What  brought  Figaro?  How  came  the  ink  on 
her  finger?  Some  paper  is  missing?  He  warns  her  she  must  not 
trifle  with  him.  The  count  appears  dressed  as  a  soldier.  Bartolo 
resists  his  entrance ;  the  guard  is  called  and  arrests  the  count. 

ACT.  H.  Bartolo  more  suspicious  than  ever;  the  count,  once 
more — this  time  as  a  music  teacher.  Basilio.  he  explains,  is  ill  and 
has  sent  him  to  give  Rosina  her  music  lesson.  He  gains  Bartolo's 
confidence  by  showing  him  the  letter  Rosina  wTOte  to  himself  and 
promises  to  convince  her  that  the  count  had  been  so  base  as  to  give  it 
to  another  woman.  Bartolo  falls  into  the  snare  and  allows  the  lesson 
to  proceed.  The  count  makes  such  good  use  of  this  advantage  that 
Rosina  agrees  to  elope  with  him  at  midnight.  Bertha  bewails  the 
sad  situation  of  her  young  mistress.  Basilio  appears  and  denies  he 
sent  a  substitute.  The  count,  of  course,  departs  hurriedly.  Bartolo 
shows  the  letter  which  the  count  gav.c  him  to  Rosina.  She  is  so  angry 
with  her  lover  that  she  promises  to  marry  her  guardian.  Bartolo 
leaves  to  get  the  license.  The  count  and  Figaro  appear ;  Almaviva 
satisfactorily  explains  about  the  letter,  and  the  lovers  are  married  just 
as  Bartolo  arrives  with  officers  to  arrest'  the  count.  The  good  doctor, 
of  course,  forgives  them. 


CARMEN.  Composer,  Bizet. 

Scene,  Seville,' J  820. 

ACT  I.  Public  square ;  soklitrs ;  loungers  awaiting  the  appear- 
ance of  the  pretty  girls  from  the  cigarette  factory,  especially  Carmen, 
the  gypsy.  IVIichaela,  betrothed  to  Don  Jose,  enters  with  a  message 
from  his  mother.  He  is  not  there ;  she  leaves.  When  the  guard  is 
changed,  Don  Jose  enters ;  Carmen,  seeing  him  sitting  dejectedly 
at  one  side,  throws  a  flower  at  him.  Alichaela  returns  and  cfves  him 
her  message,  also  a  kiss — from  his  mother.  Don  Jose  is  about  to 
throw  away  Carmen's  flower  when  a  disturbance  is  heard  in  the  fac- 
tory. In  a  quarrel  Carmen  has  stabbed  one  of  the  other  girls.  She 
is  arrested  and  her  hands  tied  behind  her  back.  Don  Jose  is  told  to 
guard  her.  He  falls  a  prey  to  her  blandishments  and  lets  her  escape. 
For  this,  he  is  sentenced  to  two  months'  imprisonment. 

ACT  n.  Carmen  in  the  gypsy  camp.  Morales,  an  officer,  is 
unsuccessful  in  an  attempt  to  win  her  favor.  Escamilkx  the  bull- 
fighter, sings  the  famous  Toreador  song.  Carmen,  knowing  that  Don 
Jose's  term  of  imprisonment  is  over,  expects  him.  When  he  ap])ears 
she  coaxes  him  to  join  the  band.  An  officer  who  orders  him  to  rejoin 
his  regiment  is  overpowered  by  the  gypsies  whom  Carmen  has  sum- 
moned..   Don  Jose  goes  with  her. 

ACT  HI.  Haunt  of  the  smugglers.  Carmen  is  becoming  tired 
of  Don  Jose  and  now  looks  with  growing  admiration  upon  Escamillo. 
The  rivals  are  about  to  settle  their  diflferences  in  a  fight,  when  the 
others  interfere.  Michaela  returns  and  Ijegs  Don  Jose  to  hasten  to 
his  mother's  bedside;  she  is  dying.  Her  plea  prevails  and  he  leaves 
with  her. 

ACT  IV.  (lala  day  in  Seville;  F.scamillo  is  to  give  an  exhil)i- 
tion  of  liis  skill.  Carmen  is  among  the  gayest  of  the  throng.  Her 
comi)anii)ns  warn  her  that  Don  jose  has  been  seen;  S(Xmi  he  apjv.'ars. 
He  ])leads  with  her  to  return  to  him.  and  when  she  spurns  him,  he 
sta1)s  licr  just  as   Ivscamillo  apjiears. 


CAVALLERIA  RUSTICANA.  Composer,  Mascagni. 

RUSTIC  CHIVALRY.  ^'°''  ^''"^* 

Turridu.  a  young  peasant,  returning  from  military  duty,  finds 
that  his  old  sweetheart.  Lola,  has  married  Alfio,  a  carter.  He  trans- 
fers his  affections  temporarily  to  Santuzza,  but  soon  tires  of  her  ana 
becomes  again  the  slave  of  the  flirtatious  Lola.  Santuzza  goes  to 
Lucia,  Turridu's  mother,  with  her  woes.  Alfio,  with  accompanying 
male  chorus,  enters  singing.  In  the  next  scene.  Santuzza  again  pours 
out  her  grief  to  Lucia  in  a  song  of  great  beauty  and  power ;  and  the 
unhappy  girl  begs  the  latter  to  pray  for  her.  Turridu  enters.  San- 
tuzza appeals  to  him.  Lola  approaches,  singing  to  harp  accompani- 
ment. After  exasperating  the  wretched  Santuzza  with  her  bitter 
sarcasm.  Lola  enters  the  church,  knowing  that  Turridu  will  follow 
her.  Santuzza  renews  her  pleading  and  falls  fainting  as  her  lover 
enters  the  church.  Alfio  appears  at  this  moment,  and  to  him  San- 
tuzza reveals  Turridu's  perfidy. 

The  extremely  popular  Intermezzo  is  played  as  if  to  give  a 
breathing  spell  between  the  passionate  scenes  of  the  opera. 

In  the  ne.xt  scene  the  congregation  is  coming  out  of  the  church, 
singing  a  chorus ;  then  follows  a  drinking  song,  "\"iva  al  vino,"  sung 
by  Turridu  with  Lola  and  others  joining  in  the  chorus.  Alfio  comes 
in.  He  refuses  Turridu's  invitation  to  join  the  party,  and  the  quarrel 
starts.  The  women  withdraw.  Turridu  bites  Alfio's  right  ear.  which 
in  Sicily  is  taken  as  a  challenge.  In  the  duel  that  follows,  Alfio 
kills  Turridu. 


FAUST.  Composer,  Gounod. 

Scene,  Germany. 

ACT  I.  Faust,  an  a.^cd  (icrnian  scholar,  discouraged  that  after 
all  his  years  of  study  he  knows  so  little,  is  about  to  end  all,  when, 
to  his  amazement,  ^lephistophelcs  answers  his  almost  involuntary 
appeal  to  the  powers  below.  His  Satanic  maj.esty  offers  to  confer 
upon  Faust  the  boon  of  youth  if  the  doctor  will  sign  a  contract  giving 
his  soul  to  the  devil  in  return.  As  an  evidence  of  his  power.  Mephis- 
topheles  calls  up  a  vision  of  a  beautiful  young  girl,  ^Marguerite,  whose 
hand  is  to  be  bestowed  upon  Faust,  if  he  will  sign.  Faust  puts  his 
name  to  the  paper. 

ACT  IL  r^Iarket  place  of  the  town ;  villagers,  soldiers  and 
students  join  in  chorus.  Valentine,  Marguerite's  brother,  sings,  "O, 
Santa  Aledaglia,"  to  a  portrait  of  his  beloved  sister.  He  is  going 
away  to  the  wars.  Siebel,  in  love  with  ^Marguerite,  promises  to 
watch  over  her.  Mephistopheles  appears.  \'alentine  resents  an 
insult  to  his  sister,  and  the  fiend  by  his  evil  ix)wer  causes  his  sword 
to  break.  All  recognize  the  presence  of  an  evil  spirit ;  soldiers  and 
students  form  a  cross  with  the  hilts  of  their  swords.  ^Mephistopheles 
is  powerless.  Faust  sees  ^Marguerite  for  the  first  time  and  speaks  to 
her,  but  is  repulsed. 

ACT  III.  The  famous  garden  scene.  Siebel  sings  a  beautiful 
ballad  to  Marguerite  and  leaves  a  bouqtiet  on  her  doorstep.  Faust 
and  Mephistopheles  appear ;  the  latter  goes  out.  but  presently  returns 
with  a  casket  of  rare  gems  which  Faust  jilaces  beside  the  bouquet. 
Marguerite,  at  her  window,  sings  the  Spinning  song ;  going  to  the 
door,  she  sees  the  bouquet,  but  throws  it  awa\-  when  she  spies  the 
gems.  While  she  is  trying  them  on.  Dame  Martha  arrives  and  both 
admire  the  jewels.  Mephistopheles  draws  Martha  away,  loa\ing 
Faust  and  Marguerite  alone.  As  the  two  couples  wander,  arm  in 
arm,  around  the  garden,  they  sing  a  striking  (|uartet.  Then  follows 
a  duet  for  Marguerite  and  Faust. 

ACT  IV.  Two  years  have  elapsed.  Marguerite  laments  l"aust"s 
desertion;  Siebel  tries  to  comfort  her.  \'alentine  returns  from  the 
wars  and  goes  to  seek  his  sister,  l^'aust  and  .Mephistopheles  are  before 
her  house,  the  latter  singing  an  insulting  song,  \alentine  is  slain 
in  a  (|uarrel  with  him  and  (lies  cursing  his  sister.  The  church  scene 
follows.  Marguerite's  jiitiful  a])]x'als  for  mercy  are  mingled  with  the 
mocking  of  the  tempter  and  the  chanting  of  the  monks.  (  Sometimes 
the  church  scene  is  given  before  the  scene  with  \  ali^uine.) 

ACT  \'.  The  ])rison  scene.  Marguerite  has  been  condemned  to 
death  for  killing  her  child.  I'^aust  a])pears  and  urges  her  to  tly  with 
him;  she  refuses.  .As  she  dies,  repentant,  angels  apjxar  and  bear 
her  soul  to  heaven. 


10 


LA   TOSCA  G)mFOser,  Puccini. 

Scene,  Rome,  1800. 

ACT  I.  Aii^i^clotli.  an  escaped  prisoner,  seeks  refuse  in  tlie 
church  of  Sant"  Andrea.  The  sacristan  enters;  later  Cavaradossi,  the 
painter  who  is  decorating;  the  chajx^l.  La  Tosca.  his  mistress,  arrives, 
Ixxonies  jealous  because  the  door  was  locked,  then  because  the  picture 
of  the  Madonna  he  is  painting;  resembles  another  woman.  He  soothes 
her.  When  she  leaves  Angclotti  comes  out  of  hiding  and  tells  his 
friend  that  his  sister,  anticipating  his  escape,  has  put  some  clothing 
for  him  under  tiie  altar.  They  find  it  and  leave.  The  sacristan  and 
others  come ;  Scarpia,  the  chief  of  police,  with  Spoletta,  appears. 
They  search  for  the  prisoner ;  find  a  fan  belonging  to  Angelotti's 
sister.  La  Tosca  returns  for  another  interview  with  her  lover. 
Scarpia  tells  her  he  found  the  fan  on  the  painter's  easel.  Then  he 
orders  that  she  be  followed,  knowing  she  will  go  to  Cavaradossi's 
house,  and  demand  explanation. 

ACT  IL  Scarpia  summons  La  Tosca;  Cavaradossi  has  been 
arrested,  but  no  trace  of  the  prisoner  Angelotti  has  been  found.  The 
painter  stoutly  denies  all  knowledge  of  him.  La  Tosca  arrives.  Cav- 
aradossi is  led  into  the  torture  chamlxT.  Scarpia  and  La  Tosca 
remain  in  the  anteroom.  The  judges  begin  to  torture  Cavaradossi, 
whose  groans  are  distinctly  heard  ;  but  the  victim  resolutely  sticks  to 
his  story  that  he  knows  nothing  of  Angelotti.  La  Tosca  begs  him  to 
tell,  but  he  commands  her  to  be  silent.  At  last,  she  tells  that  An- 
gelotti is  concealed  in  the  old  well  in  the  garden.  Cavaradossi  is 
furious  with  her.  His  own  life  is  forfeit  now  because  he  has  defiantly 
proclaimed  his  sympathy  with  the  revolutionary  party  to  which 
Angelotti  belonged.  Scarpia  and  La  Tosca  are  left  alone  again.  He 
tells  her  that  the  only  way  to  save  her  lover's  life  now  is  to  accept  his 
advances,  and  he  promises  safe  conduct  for  Cavaradossi  and  herself 
if  she  will  do  so.  She  consents.  He  gives  the  order  to  Spoletta  that 
the  execution  of  Cavaradossi  be  a  sham.  Then  he  writes  out  the 
passport.  When  he  approaclies  her.  she  stabs  him.  and  after  securing 
the  precious  bit  of  paper  goes  out. 

ACT  HL  Cavaradossi.  later  La  Tosca.  She  shows  him  the 
safe  conduct,  tells  him  how  she  obtained  it  and  how  she  killed  Scarpia. 
They  a'-e  exultant  at  the  prospect  of  freedom.  She  tells  him  how  to 
fall  when  the  soldiers  fire  at  him.  and  that  he  must  lie  perfectly  still 
until  she  tdls  him  to  get  up.  Then  waits  for  the  farce  to  be  over 
with ;  discovers  that  her  lover  has  been  killed ;  hears  the  outcry 
about  Scarpia's  death,  and  when  Spoletta  rushes  to  arrest  her,  throws 
herself  over  the  parapet  into  the  Tiber. 


11 


V  ELISIR  D'AMORE.  Composer,  Donizetti. 

THE  ELIXIR   OF   LOVE.  ^'°''  Anywhere. 

ACT  I.  Adina,  the  village  belle,  is  unable  to  make  up  her  mind 
which  of  her  lovers  to  marry.  There  is  Xemorino.  a  likely  young 
farmer ;  but  on  the  other  hand,  Sergeant  Belcore's  uniform  is  very 
attractive.  Dulcamara,  a  traveling  quack,  makes  his  entry  into  the 
town.  Xemorino  promptly  seeks  his  aid.  \\'ill  the  good  doctor  sell 
him  a  bottle  of  the  Elixir  of  Love,  about  which  Adina  had  that  very 
morning  been  reading  to  him?  If  he  could  get  some  and  drink  it, 
Adina  must  love  him — for  the  book  said  so.  Dulcamara  had  nothing" 
with  that  label  on  it,  but  sold  Xemorino  something  warranted  just  as 
good.  In  fact,  as  long  as  his  customer  liked  the  name  the  doctor  was 
content  to  christen  the  bottle  of  wine  he  sold  him  the  "Elixir  of  Love." 
The  lover  is  taking  no  chances ;  mstead  of  an  ordinary  dose,  he 
swallows  the  whole  bottleful.  Thus  it  happens  that  when  he  ad- 
dresses Adina,  she  thinks  that  he  has  been  drinking  (  ?)  :  and  she 
indignantly  notifies  him  that  she  intends  to  marry  his  rival.  The 
wedding  is  set  to  take  place  that  week,  but  the  sergeant's  regiment  is 
ordered  away  before  that,  and  he  gains  her  consent  to  have  the  cere- 
mou}-  performed  that  very  day. 

ACT  II.  Adina,  the  sergeant  and  the  notary  retire  to  sign  the 
contract.  Xemorino  is  desperate ;  he  still  has  faith  in  the  Elixir, 
and  begs  Dulcamara  to  trust  him  for  another  bottle,  as  his  money  is 
all  gone.  The  good  doctor  does  business  on  the  cash  basis  only. 
Re-enter  Belcore,  in  a  rage.  Adina  has  capriciously  declined  to  sign 
the  contract  until  evening.  Xemorino  takes  hope  again,  and  when 
he  learns  that  any  man  who  joins  the  army  receives  a  bonus  of  twenty 
crowns  from  the  government  he  at  once  enlists.  On  receipt  of  the 
money  he  goes  again  to  Dulcamara.  He  wants  the  XX  brand  of  the 
Elixir  now,  and  pays  double  price,  too.  Even  the  quack  himself  is 
astonished  at  the  change.  All  the  village  maidens  crowd  about 
Xemorino.  craving  his  favor.  (The  girls  have  learned  that  his  rich 
uncle  has  died,  leaving  him  a  fortune ;  but  lioth  Xemoriut^*  and  Dul- 
camara give  the  credit  to  the  Elixir.)  Adina's  jealousy  is  aroused. 
She  decides  she  wants  him.  To  Dulcamara  she  goes ;  he  sells  her 
some  of  the  same  brand,  and  incidentally  remarks  upon  the  (i'?votion 
of  Xemorino,  who  even  enlisted  in  order  to  get  money  to  buy  the 
Elixir  and  thus  win  her.  Of  course,  her  heart  is  touched  h\  this 
and  she  relentlessly  jilts  the  sergeant.  She  and  X'^cmorino  live  happy 
ever  after. 


12 


LES    DRAGONS    DE    VILLARS.  Composer,  Maillart. 

THE  BELL    OF  THE  HERMIT.  Scene,  France,  1720. 

Interest  in  the  opera  centers  about  a  legend  believed  in  by  the 
people  of  a  small  village  in  France,  near  Savoy.  St.  Gratien,  though 
dead  some  two  hundreil  years,  still  watches  the  married  women  of 
the  conmnmity  so  closely  that  he  instantly  detects  the  slightest  in- 
discretion on  their  ])art.  and  he  rings  a  bell  which  announces  their 
lault  to  the  whole  village.  The  government  at  this  time  is  per- 
secuting the  Camisards,  and  a  party  of  them  is  in  hiding  lx>yond  the 
town  and  near  the  cave  of  the  Hermit  St.  Gratien.  Belamy  with  a 
detachment  of  soldiers  is  hunting  for  this  very  party,  and  Silvain,  a 
servant  of  Thibault,  is  carrying  food  to  the  fugitives.  Some  time 
before  the  opera  opens  he  had  earned  the  gratitude  of  Rose  Friquet, 
a  goat  keeper,  by  saving  her  from  injury. 

ACT  I.  Thibault's  orchard;  Georgette,  his  wife,  sings  a  song. 
Thibault  rushes  in  and  warns  the  women  that  the  soldiers  are  coming ; 
lie  conceals  his  own  wife  in  the  pigeon  house.  Belamy  demands  food 
for  his  soldiers.  Silvain  appears,  and  his  master  scolds  him  for 
neglecting  his  duties.  Rose  Friquet  brings  back  some  mules  belonging 
to  Thibault.  Belamy  finds  Georgette's  hat.  and  demands  to  know 
where  the  women  all  are.  Rose  tells  him  where  Georgette  may  be 
found.  The  latter,  repulsing  the  soldier's  attentions,  explains  the  story 
about  St.  Gratien's  bell.  Belamy  determines  to  test  the  truth  of  the 
legend. 

ACT  II.  Rose  and  Silvain  at  the  cave  of  the  hermit;  Rose 
promises  to  lead  the  Camisards  safely  out  of  France.  Thibault  comes 
and  goes  seeking  his  wife,  whom  he  has  seen  with  Belamv.  The 
latter  now  appears  with  Georgette.  Rose  hides ;  every  time  the  soldier 
tries  to  kiss  Georgette,  Rose  rings  the  bell.  Thibault,  hearing  the 
bell,  runs  in  and  Belamy  attempts  to  convince  him  that  the  bell  rang 
for  Rose  (although  St.  Gratien  never  spied  upon  maidens  at  all). 
Belamy  returns  after  Thibault  leaves;  he  decides  to  investigate  the 
mystery  thoroughly.  He  comes  upon  Silvain  leading  the  Camisards. 
to  whom  he  is  presenting  Rose  as  their  deliverer.  Silvain  declares  he 
will  marry  Rose  after  she  has  guided  them  safely  over  the  frontier. 
Belamy  hastens  to  rouse  his  soldiers,  that  they  mav  pursue  the  fugi- 
tives. 

ACT  III.  Thibault  tells  Silvain  that  Belamy  has  followed  the 
Camisards  and  that  he  believes  Rose  betrayed  them  for  the  reward. 
Belamy  swears  his  appointment  the  evening  before  was  with  Rose. 
After  Thibault  leaves,  Belamy  tests  the  legend  once  more  bv  kissing 
Georgette  ;  and  the  bell  fails  to  ring.  Rose  in  her  bridal  dress  appears ; 
Silvain.  having  heard  that  the  Camisards  have  been  captured,  denounces 
her.  She  produces  a  paper  proving  that  they  have  escaped.  Belamy, 
furious  at  having  missed  his  prey,  rushes  in  and  orders  Silvain  to  be 
shot.  Rose  threatens  to  reveal  Belamy's  conduct  unless  the  latter  re- 
calls his  order.  When  his  superior  officer  appears.  Belamy  smooths 
the  matter  over.  Georgette  is  spared  and  the  wedding  of  Rose  and 
Silvain  proceeds. 


13 


THE  MAGIC  FLUTE.  Composer,  Mozart. 

IL  FLAUTO  MAGICO.  ^"''  ^^^'' 

DIE  ZAUBERFLOTE. 

Astrafiamente,  Queen  of  the  Night,  personifies  the  spirit  of  evil. 
Sarastro,  hip;h  priest  of  Isis,  represents  enlightenment.  He  has  in- 
duced Pamina,  daughter  of  Astrafiamente,  to  become  a  novice  in  the 
temple  of  Isis,  his  object  being  to  remove  her  from  evil  surroundings. 

ACT  I.  Tamino,  a  prince,  runs  in  and  falls  fainting ;  a  huge 
serpent  pursuing  him  is  killed  by  three  ladies,  attendants  upon  the 
queen.  They  then  go  back  to  tell  their  mistress  about  this  handsome 
young  prince.  Papageno,  the  bird  catcher,  arrives  and  takes  upon 
himself  the  credit  of  killing  the  serpent,  for  which  falsehood  a  padlock 
is  placed  upon  his  lips.  Tamino  receives  a  portrait  of  Pamina,  the 
daughter  of  the  queen,  and  is  told  that  she  is  kept  a  prisoner  by  the 
wicked  Sarastro ;  the  queen  enters  and  promises  him  great  reward 
if  he  will  restore  Pamina  to  her  arms.  The  Magic  Flute,  which  has 
the  power  of  warding  off  danger,  is  then  bestowed  upon  Tamino,  and 
Papageno  receives  a  set  of  bells  which  can  change  anger  into  merri- 
ment. An  Egyptian  room ;  Pamina  in  charge  of  Alonostatos,  a  Moor, 
who  places  her  in  chains  because  she  will  not  listen  to  his  advances. 
Enter  Papageno,  who  compares  her  with  the  portrait  and  then  tells 
her  of  the  handsome  prince  who  is  seeking  to  rescue  her.  They  go 
to  find  Tamino.  In  the  next  scene,  the  prince  appears  and  plays  upon 
the  Magic  Flute,  winning  an  answer  from  Papageno.  who  is  within 
the  palace.  He  goes  out  to  seek  Papageno ;  Pamina  and  the  bird 
catcher  enter.  Monostatos  discovers  their  flight  and  gives  the  alarm. 
Priests  enter,  later  Sarastro,  to  whom  Pamina  confesses  her  fault  and 
is  forgiven.  Tamino  comes  in.  The  lovers  recognize  each  other,  but 
Sarastro  orders  that  they  undergo  the  ordeal  of  purification,  and  they 
are  led  out. 

ACT.  II.  A  forest.  Sarastro  learns  that  Tamino  is  worthy  of 
being  admitted  to  the  temple.  In  the  next  scene  Pamina  is  told  by 
her  mother  that  her  father  when  dying  gave  to  Sarastro  the  sacred 
symbol  ofthe  sun,  by  virtue  of  which  he  holds  his  power.  The  queen 
gives  her  daughter  a  dagger  and  tells  her  she  must  kill  Sarastro  and 
recover  the  sacred  symbol.  Monostatos  has  overheard  all.  When 
Pamina  repulses  him,  he  tries  to  stab  her.  Sarastro  saves  her  and 
advises  her  to  have  faith  in  him  and  all  will  be  well.  Tamino  is  for- 
bidden to  speak  to  Pamina.  Other  tests  are  imposed  also.  Papageno 
is  accosted  by  an  old  woman  who  informs  him  he  can  have  his  choice 
of  taking  her  or  going  to  jirison.  AA'luii  he  chooses  her.  she  is  trans- 
formed into  a  beautiful  young  woman — Papagena.  Pamina.  with  a 
dagger,  is  about  to  jnit  an  end  lo  her  despair  over  Tamino's  coldness 
when  she  is  told  that  he  loves  her  still.  Soon  she  meets  her  lover, 
and  together  they  pass  through  the  ordeals  of  fire  and  water  to  the 
inner  temple.  Papageno  mourns  the  disap]")earance  of  Pa])agena,  who 
comes  running  in  after  he  sounds  the  bells.  Monostatos.  .Astrafia- 
mente and  her  attendants  api)ear,  bent  upon  the  destruction  of  the 
tem])le;  a  clap  of  thunder  is  heard  and  the  place  is  llooded  with 
light — darkness  in  the  person  of  the  <|ueen  being  forever  overctnue. 
.Sarastro  seated  on  his  throne  welcomes  Tamino  and  Pamina  into  the 
tcinpK';  and  their  steadfastness,  courage  and    faith   ari'   n-warilcd. 

14 


THE  MARRIAGE  OF  FIGARO.  Composer.  Morart. 

LE  MARRIAGE   DE  FIGARO.  ^'"''  Seville,  Spain. 

LE  NOZZE  DI  FIGARO. 

J/a^j>  of  the  same  charm  fcrs  appear  in  (he  liarbcr  of  Seville  and  in  the 
Marriage  of  Figaro. 

ACT  I.     Figaro,  the  valet  of  Count  Alniaviva,  and  Susanna,  the 
countess'   maid,   are   to  I)e   married   on   the    following  day.     Susanna 
admits  to  Figaro  that  the  count's  attentions  have  been  rather  embar- 
rassing.    Entvr    Dr.    Juutolo   and    Marcellina    (Susanna    in    hiding). 
Marcellina  exhibits  a  contract  given  her  by  Figaro,  engaging  himself 
to  marry  her  should  he  not  repay  a  certain  sum  he  borrowed  from  her. 
Bartolo  promises  to  enlist  the  count  in  her  cause.     Cherubino.  a  page 
who  is  much  in  love  with  the  countess,  comes  in  now,  deploring  his 
dismissal  by  the  count,  who  caught  him  making  love  to  the  gardener's 
daughter,  Barberina.     Fie  hopes  the  countess  will  save  him.     A  knock 
at  the   door,  the  page  hides,  the  count  enters.     The  count  offers  to 
Susanna  a   large   dowry   if   she   will   meet   him   that   evening   in   the 
garden  ;    but  slie  will  have  nothing  to  say  to  him.     Basilio  is  heard 
inquiring  for  the  count ;    the  latter  runs  behind  a  chair  to  hide,  while 
Cherubino  slips  in  front  and  throwing  himself  into  its  capacious  arms, 
is  covered  with  a  mantle  by  Susanna.     Basilio  urges  the  count's  suit 
upon  Susanna,  but  happening  to  mention  the  devotion  of  the  page  to 
tiie  countess,  the  count  comes  forth  and  furiously  denounces  his  emis- 
sary.    While   illustrating  'now   upon  a    former  occasion   he   had   dis- 
covered a  hidden   foe.  he  lifts  the  mantle  from  the  chair,  disclosing 
the  unfortunate  page.     Prudence  restrains  the  count  from  wreaking 
vengeance  upon  the  little  listener,  but  he  decides  to  send  the  lad  off 
to  the  wars  in  order  to  get  him  out  of  the  way.     Figaro  now  appears 
and  asks  the  count's  consent  to  his  marriage.     The  latter  is  compelled 
of  course  to  give  it,  but  he  manages  to  have  the  ceremony  postponed 
somewhat.     In  the  next  scene  the  countess  and  her  maid  are  discuss- 
ing matters  when  Figaro  enters.     All  three  have  some  grudge  against 
the  lord  of  the  house,  and  they  plot  to  have  some  revenge.     Figaro 
writes  a  note  to  the  count,  telling  him  that  the  countess  intends  to 
keep  an  appointment  in  the  garden  that  evening  with  a  stranger,  and 
also  stating  that  Susanna  has  agreed  to  meet  the  count  there.     The 
note  is  not  signed,  of  course.     They  intend  to  dress  Cherubino  up  in 
Susanna's  gown  and  let  him  keep  the  appointment   with   the   count. 
When  the  page  appears  the  ladies  proceed  to  array  him  in  feminine 
finery ;   the  count  demands  admittance.     Cherubino  runs  into  a  closet ; 
his  master  demands  to  know  who  is  in  there,  and  goes  out  to  get  some 
weapon  with  which  to  break  open  the  door.     He  drags  the  countess 
with  him  to  save  her  the  humiliation  of  being  shamed  before  servants. 
\\'hile  he  is  gone.  Cherubino  jumps  out  of  the  window  and  Susanna 
takes  his  place  in  the  closet.     When  the  count  bursts  open  the  door, 
the  maid  calmly  confronts  him,  to  his  intense   mortification.     He  is 
ready  to  apologize  to  his  wife  when  Antonio,  the  gardener,  comes  in 
to  complain  that   some  one  had   jumped    from  the  window    into  his 
flower  beds  and   destroyed  some  of  his  plants ;    Figaro's   ready   wit 


15 


saves  them  all.  for  he  declares  that  he  was  the  culprit,  but  Antonio 
produces  Cherubino's  commission  which  he  had  found  in  the  ruined 
flower  bed.  Figaro  explains  that  by  stating  that  he  had  taken  the 
commission  to  have  the  notary's  seal  affixed.  Marcellina  next  appeals 
to  the  count  to  compel  Figaro  to  keep  his  agreement  with  her.  This 
the  count  gladly  declares  he  will  do ;    Figaro  must  marry  Marcellina. 

ACT  II.  The  count  urges  Susanna  to  meet  him  in  the  garden; 
Figaro  enters,  apd  Susanna  joyfully  tells  him  that  the  dowry  the 
count  will  give  her  will  be  sufficient  to  pay  off  his  debt  to  Marcellina. 
The  count  overhears  her,  and  in  revenge  encourages  her  uncle.  An- 
tonio, to  refuse  his  consent  to  the  marriage.  Figaro  proves  that  he 
is  the  son  of  Marcellina  and  Dr.  Bartolo.  Antonio  presents  Cheru- 
bino's hat  to  the  count — the  little  rascal  is  supposed  to  be  with  his 
regiment.  This  proves  that  he  is  somewhere  in  the  castle.  They  go 
in  search  of  the  culprit.  Susanna  and  her  mistress  enter,  and  they 
jointly  write  a  letter,  fastened  with  a  needle  which  the  count  is  to 
return  in  token  that  he  understands  the  message.  Susanna  when 
receiving  her  wedding  hat  from  her  master  slips  the  note  into  his 
hand.  In  the  next  scene,  Barberina.  who  has  been  intrusted  with  the 
needle,  has  lost  it  and  tells  Figaro.  The  latter  is  becoming  sus- 
picious, and  determines  to  be  in  the  garden  himself  that  evening. 
Susanna  and  the  countess  exchange  garments  and  go  to  the  garden. 
Cherubino,  mistaking  the  countess  for  Susanna,  is  about  to  bestow 
the  favor  of  a  kiss  upon  the  damsel  when  the  irate  count  appears  and 
aims  a  blow  at  him ;  unfortunately  Figaro  stepping  out  at  that 
moment  receives  the  blow.  The  count  now  proceeds  with  his  love- 
making  to  the  supposed  maid  (in  reality  to  his  own  wife),  while 
Figaro  and  Susanna  hugely  enjoy  the  joke  from  their  hiding  places. 
Figaro,  happy  in  the  knowledge  that  Susanna  is  faithful  to  him.  now 
helps  out  the  plot  for  his  master's  undoing.  He  falls  on  his  knees 
before  Susanna  (who  is  wearing  the  countess'  gown)  ;  the  count 
comes  upon  them  and  thinking  he  has  caught  his  lady  in  a  fault,  calls 
for  light.     It  is  brought.     He  promises  to  be  good  ever  after. 


K) 


MEFISTOFELE  Composer,  Boilo. 

mnr  O  l  Ur  CLU.  ^^^^^  Germany. 

This  opera,  like  Gounod's  "Faust, "  is  leased  upon  Goethe's  poem  of 
"Faust";  Gounod  has  treated  only  the  affair  of  Faust  with  Marguerite, 
while  Boito  has  followed  the  aged  scholar  through  nianv  incidents. 

PROLOGUE.    In  the  Heavens. 

ACT  I.  Easter  Sunday  ;  Frankfort ;  students,  huntsmen,  peasants. 
Faust  and  ^^'agner  appear  and  then  leave ;  Faust  returns,  followed 
by  a  gray  friar  (Mefistofele ).  Scene  2.  Faust's  laboratory;  Mefis- 
tofelc  reveals  his  identity,  and  in  return  for  Faust's  soul  confers  vouth, 
wealth  and  beauty  upon  the  wearied  student. 

ACT  II.  The  Garden  Scene.  Faust  (known  as  Henry),  Mar- 
guerite, INIarta  and  Mefistofele  strolling  through  the  garden.  Faust 
gives  to  Marguerite  a  sleeping  potion  which  she  is  to  administer  to 
Marta  to  render  her  less  watchful.  Scexe  2.  Walpurgis  Night  revels  ; 
the  Witches"  Sabbath  on  the  Brocken  ;  Faust  sees  a  vision  of  Mar- 
guerite's sorrow. 

ACT  III.  The  Prison  Scene.  Marguerite  is  condemned  to  death 
for  killing  her  child ;  her  insane  ravings  are  pitiful.  Faust  appears  and 
begs  her  to  fly  with  him.  but  she  refuses. 

ACT  ly.  Greece.  Xight  of  the  Classical  Sabbath.  Faust  is 
wooing  Helen  of  Troy,  who  describes  the  destruction  of  Trov. 

EPILOGUE.  Faust's  death  bed.  Mefistc.^ele  urges  him  to  con- 
tinue his  career  of  evil,  but  Faust,  seizing  the  Bible,  declares  he  relies 
upon  it  for  salvation.     The  fiend  is  overcome. 


LOHENGRIN.  Composer.  Wagner. 

Scene,  Brabant. 

ACT  I.  King  Henry  I.  of  Germany,  surrounded  by  his  nobles, 
announces  that  the  Hungarians  are  about  to  invade  the  land ;  he  calls 
upon  all  to  rally  to  his  standard.  Telramund  of  Brabant  steps  for- 
ward to  explain  to  the  king  the  disturbed  condition  of  affairs  in  the 
duchy.  He.  as  guardian  of  the  late  duke's  children,  Elsa  and  God- 
frey, had  faithfully  discharged  his  trust.  One  day  recently  Elsa  and 
her  brother  had  gone  into  the  forest  together ;  Elsa  returned  without 
Godfrey,  nor  could  she  give  any  explanation  of  his  disappearance. 
Telramund  accused  her  of  murdering  him  to  get  the  title  and  estates. 
As  next  of  kin,  he  claims  the  succession.  Elsa,  in  answer  to  this 
hideous  charge,  can  only  say  that  she  places  her  hope  of  vindication 
upon  a  mysterious  knight  of  whom  she  has  dreamed ;  she  asks  that 
the  trumpets  summon  him.  At  the  third  blast.  Lohengrin  appears  in 
a  boat  drawn  by  swans.  Elsa  recognizes  him  as  the  knight  of  her 
dreams.  He  offers  to  champion  her  if  she  wnll  promise  to  become 
his  bride  and  never  to  ask  his  name  or  lineage.  She  promises.  He 
defeats  Telramund.  The  latter  and  his  wife  Ortrud  are  publicly 
disgraced. 

ACT  H.  Telramund  and  Ortrud  reproach  each  other ;  Ortrud 
suggests  that  if  Lisa's  curiosity  can  be  so  aroused  that  she  will  insist 
upon  Lohengrin's  disclosing  his  identity,  the  knight's  prestige  w'ill 
vanish.  She  incites  her  husband  to  accuse  Lohengrin  of  sorcery, 
which  would  disqualify  him  for  knighthood.  -As  a  final  resort.  Telra- 
mund is  to  attempt  Lohengrin's  life.  Ortrud  now  appeals  to  Elsa, 
professing  sorrow  for  her  past  conduct.  She  cunningly  rouses  sus- 
picion of  Lohengrin  in  Lisa's  mind.  In  the  next  scene.  Telramund 
is  proclaimed  a  traitor  and  Lohengrin  designated  Duke  of  Brabant. 
Elsa  arrives  in  her  bridal  robes.  Ortrud  disputes  her  right  to  prece- 
dence and  taunts  the  bride  with  her  ignorance  of  Lohengrin's  name 
even.  The  entrance  of  Lohengrin.and  the  king  puts  an  end  to  this, 
and  Lohengrin  drives  Ortrud  away.  Telramund  rushes  in  and  makes 
his  accusation  of  sorcery,  but  is  thrust  out. 

ACT  III.  Opens  with  the  famous  wedding  march.  Elsa.  left 
alone  with  Lohengrin  entreats  him  to  tell  her  his  name  and  whence 
he  came — forgetful  of  her  promise.  Telramund  and  four  of  his 
friends  rush  in  with  evil  intent,  but  Lohengrin  strikes  him  dead,  and 
the  others  beg  fo'-giveness.  Lohengrin  tells  Elsa  he  will  reveal  his 
name.  In  the  Ir'lt  scene,  King  Henry  and  his  nobles  are  again  gath- 
ered on  the  b-^-iks  of  the  Scheldt ;  knights  bearing  Tolranunid's  body 
enter;  Elsa  follows,  then  Lohengrin.  The  latter  declares  himself 
son  of  Parsifal,  lord  of  INlontsalvat,  where  the  Holy  (irail  is  guarded. 
Llis  mission  is  to  help  the  weak,  but  his  identity  being  known,  he 
nuist  return  to  Alontsalvat.  Lie  breaks  Xlrtrud's  spell  over  the  white 
swan,  thus  releasing  (iodfrey,  who  is  promptly  restored  to  his  title. 
Elsa  is  heartbroken  over  her  champion's  departure.  He  enters  the 
swan  boat  and  Elsa  sees  him  no  more.  Had  she  waited  a  year,  he 
could  have  revealed  who  lie  was;  her  lack  of  f:iith  destmyed  her 
happiness. 


IS 


PARSIFAL.  Composer,  Wagner. 

Scene,  Mont&alvat. 
Titurcl  fouiuled  the  brotlicrhood  of  Knij^lits  of  the  Holy  (jrail, 
whose  mission  was  to  jjuard  tlie  sacred  cup  and  spear ;  they  dwelt  in 
the  castle  of  Montsalvat.  jjiously  believed  to  be  situated  in  northern 
Spain.  The  Grail  was  the  chalice  from  which  Christ  drank  at  the 
Liist  Supper,  and  in  which  Joseph  of  Arimathea  caug^ht  the  blood 
which  flowed  from  His  side  on  the  cross.  It  was  believed  that  on 
every  Good  I'riday  there  fell  into  the  Grail  a  wafer  which  furnished 
food  for  the  kni:^hts — thus  commemorating.::  the  I^st  SupiJer  and  the 
miracle  of  the  feeding"  of  the  multitude  with  the  loaves  and  fishes. 
If  any  one  wiio  was  not  pure  approached  the  chalice  it  vanished. 
The  spear  with  which  He  was  wounded  by  the  soldier  was  also  a 
precious  possession  of  the  knights.  None  but  those  absolutely  chaste 
in  thought  and  deed  could  hope  to  Ix:  admitted  to  the  community  of 
Grail  defenders. 

One  Klingsor  had  sought  to  enter  the  brotherhood,  but  had  been 
rejected  as  unworthy.  He  then  studied  the  magic  arts,  that  he  might 
revenge  himself.  Xcar  Montsalvat  lie  established  a  castle  with  gar- 
dens of  enchantment  and  beautiful  maidens  who  lured  many  of  the 
knights  to  destruction.  Titurel  had  grown  old,  and  his  son  Amfortas 
performed  the  offices  of  king.  Amfortas.  anned  with  the  sacred 
spear,  set  out  to  destroy  Klingsor's  stronghold.  He  fell  a  victim  to 
the  charms  of  Kundry.  and  let  fall  the  spear,  which  was  instantly 
seized  by  Klingsor.  The  magician  wounded  Amfortas  with  the  spear, 
which  he  then  carried  away.  While  the  king  was  praying  for  relief 
from  his  awful  suttering,  a  voice  was  heard  saying  that  only  a  "guile- 
less fool"  could  wrest  the  sacred  spear  from  Klingsor,  and  by  touching 
with  it  the  wound  of  Amfortas  restore  him  to  bodily  and  spiritual 
health.  This  fool  must  all  his  life  have  been  ignorant  pf  sin.  he  must 
realize  through  compassion  what  anguish  Amfortas  suflfered  and  he 
must  be  one  who  could  resist  temptation  though  it  come  to  him  in  the 
most  seductive  form.     Parsifal  proved  true  to  every  condition. 

This  Kundry  in  the  intervals  when  Klingsor  released  her  from 
his  spell  seemed  to  prefer  to  serve  the  Grail  knights,  but  the  magician 
could  at  will,  apparently,  recall  her  to  his  service  and  compel  her  to 
do  his  bidding.  It  was  alleged  by  some  that  she  was  the  woman 
who  laughed  at  Qirist  as  He  w-as  carrying  the  cross,  and  that  for  this 
she  was  condemned  to  wander  over  the  world,  a  prey  to  remorse. 
Parsifal's  first  act  as  king  of  the  knights  was  to  baptize  her  into  the 
faith  ;  she  lived  only  long  enough  after  that  to  see  him  cure  Amfortas' 
wound  Avith  the  sacred  spear. 

ACT  I.  Dawn.  Gurnemanz  awakens  the  two  pages  who  are 
sleeping  at  the  gates.  Two  Knights  of  the  Grail  go  to  prepare 
Amfortas'  bath  in  the  forest  lake,  where  he  seeks  relief  from  his  suf- 
fering. Kundry  rushes  in  with  some  balsam  from  Arabia  for  Am- 
fortas' wound.  A  company  of  knights  bearing  the  king  in  a  litter 
cross  toward  the  lake.  After  the  procession  has  passed.  Gurnemanz 
relates  to  the  two  youths  how  Amfortas  came  by  his  wound.  Shouts 
are  heard ;  one  of  the  sacre'd  swans  flutters  down  \\-(^unded,  and  dies 
at  Gurnemanz'  feet.  Parsifal,  who  killed  the  bird,  is  seized:  Gurne- 
manz rebukes  him.  Parsifal,  from  boasting  of  his  marksmanship,  is 
brought  to  realize  that  he  has  done  wrong.  Gurnemanz  questions 
him  concerning  his  birth  and  history,  but  to  every  question  he  merely 
answers  that  he  does  not  know,  except  that  his  mother's  name  was 
Herzeleid  and  that  they  had  always  lived  in  the  forest,  entirelv  alone. 

19 


One  day  a  party  of  kniglits  in  shining  armor  had  passed  their  dwell- 
ing. He  followed  them  and  lost,  his  way.  He  could  never  find  his 
dear  mother  again,  and  had  wandered  around  until  at  last  he  reached 
Montsalvat.  Gurncmanz  begins  to  hope  that  he  has  found  the  one 
who  is  to  save  the  brotherhood.  Here  is  a  fool  surely,  but  whether 
he  is  the  i^iiilclcss  fool  of  the  prophecy  remains  to  be  seen.  Kundry 
tells  Parsifal  that  his  mother  Hcrzeleid  (Heart's  Affliction)  is  dead 
— at  which  Parsifal  is  overcome  with  grief.  Gurnemanz  bids  Parsifal 
accompany  him  to  the  castle,  there  to  witness  the  ceremony  of  Com- 
munion. The  knights  file  in  and  take  their  places  around  the  table ; 
Amfortas.  preceded  by  the  Holy  Grail  borne  by  pages,  is  carried  in 
on  a  litter.  Titurel  calls  upon  his  son  to  uncover  the  chalice.  Am- 
fortas. knowing  that  he  is  unworthy,  prays  to  be  released  from  the 
duty,  but  for  the  sake  of  the  others  he  oflfers  the  sacrifice.  The  bread 
and  wine  are  distributed.  The  ceremony  over,  Gurnemanz  asks  Par-. 
sifal  if  he  understood  what  he  had  seen,  and  when  Parsifal  says  no, 
he  thrusts  the  fool  out  and  bids  him  begone. 

ACT  n.  Klingsor's  Gardens  of  Enchantment.  The  magician 
sees  Parsifal  wending  his  way  toward  the  castle.  He  summons 
Kundry,  whom  he  commands  to  ensnare  the  youth.  Parsifal,  over- 
coming the  guards,  enters  the  enchanted  gardens,  where  he  is  imme- 
diately surrounded  by  the  lovely  flower  maidens,  who  sing  and  dance 
about  him.  He  mingles  with  them  with  all  the  abandon  of  a  child. 
The  flower  girls  vanish,  and  the  irresistible  Kundry  appears  on  a 
couch  of  roses.  She  gains  his  interest  by  talking  of  his  mother  and 
her  sore  grief  when  he  ran  away.  Having  wrought  him  up  by  these 
distressful  details,  she  suddenly  leans  over  and  kisses  him.  Like  a 
revelation,  he  understands  the  cause  of  Amfortas'  suffering,  and, 
enlightened  bv  pity,  he  determines  to  bring  him  relief.  Thenceforth 
he  is  deaf  to  the  entreaties  of  the  temptress.  Kimdry  calls  upon 
Klingsor  to  aid  her.  The  magician  appears  and  throws  the  sacred 
spear  at  Parsifal.  It  is  by  a  miracle  suspended  over  his  head.  He 
promptly  seizes  it  and  making  the  sign  of  the  cross  with,  it,  destroys 
Klingsor's  power.  Down  crumbles  the  magician's  stronghold.  Par- 
sifal asks  Kundry  the  way  to  the  castle  of  the  Grail,  but  she  will  not 
tell  him.     He  starts  out  to  find  it  himself. 

ACT  HI.  Gurnemanz,  now  a  very  aged  man,  coming  out  of  his 
lodge  discovers  Kimdry  lying  in  the  bushes,  nearly  dead.  He  revives 
her.  Parsifal,  clad  in  black  armor,  comes  in.  He  tiirusts  the  spear 
into  the  ground  and  kneels  before  it  in  ]ira\er.  (lurnemanz  and 
Kundry  recognize  him.  Gurnemanz  tells  him  of  Titurel's  death ; 
then  leads  him  to  the  Holy  Spring  near  b).  Kundry  washes  his  feet 
and  Giu'uemanz  bajitizes  him,  acknowledging  him  as  the  coming 
redeemer  of  the  knights.  Then  (lurnemanz  anc^nts  him  king.  Par- 
sifal now  l)a])tizes  Kundr\.  It  is  Good  I-'riday.  and  music  wonder- 
fully expressive  of  the  spiritual  exaltation  of  the  da\'  is  heard.  All 
three  set  out  for  the  castle.  Titurel's  bier  is  carried  into  the  hall, 
and  later  Amfortas.  in  his  litter,  is  borne  in.  All  beg  him  to  uncover 
the  Grail.  Lamenting  his  guilt,  .Amfortas  refuses.  The  knights,  de- 
prived so  long  of  their  spiritual  food  which  alone  snst;nns  them, 
threaten  him.  He  tears  open  his  cloak  and  shows  tlinn  bis  l)li'e(ling 
wound.  Parsifal  steps  for\\;u(l  and  touches  tlu-  wound  with  the 
l)oint  of  the  sacred  spear,  and  U  is  lualed.  Then  Parsifal,  acclaimed 
l<ing  by  all,  ascends  the  altar  steps  and  offers  the  sacrifice.  The  dea<I 
Titurel  blesses  him  and  the  kniglits  chant  their  hynnis  of  ])raise. 

20 


TANNHAUSER.  Composer,  Wagner. 

Scene,  Thuriogia. 

ACT  I.  Tannhiliiscr,  a  minstrel,  has  betaken  himself  to  the 
abode  of  X'enus.  and  has  given  himself  up  to  sinful  pleasures.  He 
tires  of  it,  and  at  the  time  the  opera  opens  he  is  praying  the 
goddess  to  let  him  depart.  She  does  not  wish  to  do  so,  and  com- 
mands her  nymphs  to  amuse  him.  At  last  he  calls  upon  the  holy 
name  of  "Mary,"  and  \'enus  witli  all  her  sirens  vanishes.  Sce.ve  2. 
Tannhiiuscr  listening  to  the  shrill  piping  of  a  shepherd  close  by  ;  the 
soul  stirring  strains  of  the  ciiorus  of  pilgrims  on  their  way  to  Rome 
are  heard.  The  landgrave  of  Thuringia  and  a  party  of  hunters  ride 
up.  and  Tannhauser  learns  that  Elisabeth,  the  landgrave's  niece,  has 
pined  away  since  his  disappearance.  This  determines  him  to  return 
to  the  castle. 

ACT  II.  The  Hall  of  Song  at  the  castle  of  Wartburg.  A  song 
contest  is  to  be  held;  the  subject  is  to  be  the  power  of  love,  and  the 
hand  of  Elisabeth  is  to  be  the  prize  of  the  victor.  Wolfram,  W'alther, 
anil  Bitcrolf  enter  the  lists — all  being  more  or  less  interrupted  by 
Tannhauser,  who  scoffs  at  their  ideas  of  love.  He  sings  of  the  divine 
passion  as  he  learned  it  at  the  \'enusberg.  All  are  horrified ;  the 
ladies  leave  the  room  in  anger,  and  the  men  draw  their  swords  upon 
the  offender.  Only  Elisabeth's  plea  saves  his  life.  The  landgrave 
advises  him  to  join  the  pilgrims  and  seek  forgiveness  from  the  Holy 
Lather  in  Rome. 

ACT  III.  The  \'alley  of  Wartburg.  Elisabeth  praying  at  a 
shrine :  the  faithful  Wolfram  watching  her.  Again  the  chorus  of 
pilgrims — this  time  joyous,  for  their  sins  have  been  washed  away. 
Elisabeth  looks  eagerly  among  them  for  Tannhauser.  He  is  not  there. 
She  bids  farewell  to  \\'olfram,  and  slowly  ascends  to  the  castle  while 
he  sings  the  exquisite  "Song  to  the  Evening  Star."  Tannhauser 
staggers  in,  overcome  with  remorse  and  exhaustion.  The  Holy 
Father,  after  iiearing  his  story,  had  refused  pardon  for  so  grievous 
an  offense,  and  had  told  him  he  could  not  hope  for  forgiveness  until 
his  wooden  staff  put  forth  leaves  and  blossoms.  Filled  with  despair, 
the  wretched  man  is  on  his  way  to  the  \'enusberg.  Wolfram's  en- 
treaties cannot  move  him  until  he  utters  the  name  of  "Elisabeth." 
Dawn  approaches  and  the  strains  of  Elisabeth's  funeral  song  are 
heard.  When  Tannhauser  sees  her  dead  he  sinks  lifeless  beside  her 
bier.  The  wooden  staff  puts  forth  leaves  and  blossoms,  and  we  know 
that  the  penitent  is  forgiven  in  heaven,  if  not  on  earth. 


TRISTAN   AND  ISOLDE.  Composer,  Wagner, 

Scene,  Cornwall  and  Brittany. 

Isolde,  daughter  of  the  king  of  Ireland,  is  sought  in  marriage'  by 
King  IMarke  of  Cornwall,  who  sends  his  nephew  Tristan  to  escort 
the  bride  to  his  domains.  •  Tristan,  in  combat  with  Morold,  a  former 
lover  of  Isolde's,  had  slain  him  and  been  wounded  himself.  Isolde 
had  nursed  him  back  to  health  and  they  had  learned  to  love  each 
other.  Now  she  resents  it  that  it  should  be  he  that  is  come  to  lead 
her  to  a  loveless  marriage  with  an  aged  man  she  has  never  seen. 

ACT  I.  The  vessel  bearing  Isolde  to  Cornwall.  Braganne.  her 
attendant,  peers  through  the  draperies  that  curtain  off  the  princess' 
apartments.  Isolde,  learning  that  they  are  near  Cornwall,  laments 
the  prospect  before  her.  Tristan  is  now  seen  standing  apart — his 
squire  Kurwenal  lying  at  his  feet.  Isolde  tells  Braganne  io  inform 
Tristan  that  she  wishes  to  speak  with  him ;  he  replies  that  he  cannot 
come.  Braganne  commands  him  in  the  name  of  her  mistress ;  Kur- 
wenal answers  insolently  and  recalls  the  circumstances  of  Morold's 
death.  Isolde  heard  him  and  she  expresses  her  indignation  at  the 
ingratitude  of  Tristan.  She  shows  a  phial  containing  a  deadly  poison 
wliich  she  intends  to  take  to  escape  her  misery.  Braganne  exhibits 
a  love  potion.  Kurwenal  bids  the  ladies  prepare  to  land.  Isolde 
tells  Braganne  to  prepare  a  potion  for  Tristan  and  herself  from  the 
flask  of  poison.  Tristan  appears ;  Isolde  upbraids  him  for  his  neglect. 
He  replies  that  he  could  not  leave  his  post  of  duty,  and  besides  in  his 
country  it  was  customary  for  him,  "who  fetches  the  bride  to  remain 
far  from  her."  She  asks  that  he  share  with  her  the  death  draught. 
He,  desolate  at  seeing  the  woman  he  loves  become  the  bride  of  an- 
other, consents,  but  Braganne  instead  of  the  death  potion  used  the 
love  philtre.  Tristan  and  Isolde  drink  of  it.  The  effects  are  soon 
apparent.  They  regard  each  other  with  rapturous  admiration.  The 
king  and  his  retinue  approach  to  welcome  the  bride. 

ACT  ]I.  Isolde  and  Braganne;  King  Marke  has  gone  away  on 
a  hunt ;  the  extinction  of  a  torch  is  to  be  the  signal  that  Tristan  may 
approach.  The  lovers  are  so  absorbed  in  each  other  that  they  fail 
to  heed  Braganne's  warning.  Kuiwenal  rushes  in,  closely  followed 
by  Melot,  who  has  betrayed  them.  The  king  and  his  nobles  arrive. 
Tristan  makes  no  defense,  but  turning  to  Isolde  asks  her  if  she  will 
follow  him;  she  answers  that  she  will,  even  to  the  death.  Melot  and 
Tristan  fight,  and  the  latter  is  fatally  wounded. 

ACT  III.  Castle  on  the  coast  of  Bnltany.  Kurwenal  tending 
his  master;  tells  a  shepherd  to  play  a  sprightly  air  if  he  spies  a  sail. 
Tristan  wakes  and  the  faithful  Ktu'wenal  tells  him  lie  has  sent  for 
Isolde.  A  joyous  melody  from  the  shepherd's  ])ipe  annoiuices  a  sail. 
Kurwenal  hastens  to  bring  Isolde  to  Tristan's  side.  Ik-  exjnres  in 
her  arms.  The  she])herd  exclaims  that  another  sail  is  approaching. 
Kurwenal,  thinking  it  must  be  King  Marke.  bent  upon  vengeance, 
dies  defending  the  castle.  Bragamie  revives  her  mistress,  to  tell  her 
that  the  king,  having  learned  how  the  jxttions  were  mixed,  had  come 
to  tmite  the  lovers.  it  is  too  late.  Isolde  cann<H  survive  her  lover's 
death. 


DER  RING  DES  NIBELUNGEN. 
THE  RING  OF  T >iE  NIBELUNGS. 

1  hrouf^hout  the  loi.r  operas,  Das  Khcintiold,  Die  Walkiirc,  Sieg- 
fried and  Die  (icUtertUininierun^.  there  runs  the  thread  of  the  story  of 
the  Rin,<;-  made  froni  the  Rhein^old.  "Das  Rheinj^old."  in  one  act,  is 
really  in  the  nature  of  a  prelude  to  the  three  reniainin<^  music  dramas. 

Jmlx-'ddcd  in  a  rock  m  the  Rhine  was  a  mass  of  pure  gold  pos- 
sessed of  magic  virtues.  Alberich,  king  of  the  Nibelungs,  stole  the 
gold  and  fashioned  from  it  a  Ring  which  insured  to  its  wearer  the 
sovereignty  of  the  world.  Wotan,  father  of  the  gods,  coveted  the 
Ring  and  contrived  by  trickery  to  gain  possession  of  it.  Alberich 
cursed  it — "May  he  wlio  has  it  not,  covet  it  with  rage;  and  may  he 
who  has  it.  retain  it  with  anguish  of  fear."  Wotan  was  comp<-'lled 
to  give  up  the  Ring  to  Fasolt  and  Fafner,  the  giants  who  have  built 
Walhalla  for  him.  The  curse  began  to  work ;  at  once  the  two  giants 
fell  to  quarreling  over  the  Ring,  and  Fafner  killed  his  brother  in  order 
to  secure  it  for  himself.  P'afner  did  not  enjoy  his  treasure ;  he 
changed  himself  into  a  huge  serpent  and  through  a  long  term  of 
years  jealously  guarded  the  spoil.  Wotan  founded  the  race  of  \'ol- 
sungs,  hoping  through  them  to  prevent  the  Ring  from  falling  into 
the  hands  of  any  enemy  of  the  gods:  Siegfried,  the  \'olsung.  killed 
the  giant  Fafner  and  secured  the  Ring.  He  gave  it  to  Briinnhilde, 
his  bride,  and  then  he  sallied  forth  in  search  of  adventures.  Hagen. 
son  of  Alberich,  thought  he  had  the  best  right  to  the  Ring  because 
his  father  stole  it  first,  and  he  plotted  the  downfall  of  Sieg- 
fried, that  he  might  obtain  it.  Siegfried  arrived  at  the  residence  of 
Gunther,  Hagen's  half-brother.  At  the  instigation  of  Hagen. 
Gutrune.  Gunthcr's  sister,  gave  Siegfried  a  draught  which  caused  him 
to  forget  liriinnhilde  completely  and  to  fall  in  love  with  her.  Sieg- 
fried asked  for  Gutrune's  hand.  He  was  told  that  if  he  would  bring 
liriinnhilde  as  bride  to  Gunther,  he  might  wed  Ciutrune.  He  has- 
tened to  do  so.  By  means  of  the  Tarnhelm  which  he  put  on,  he 
assumed  the  form  of  Gunther  and  after  tearing  the  Ring  from  Brijnn- 
hilde's  finger,  he  compelled  her  to  follow  him.  Briinnhilde  accused 
him  of  treachery  and  Gunther,  thinking  he  had  violated  his  trust, 
agreed  to  Hagcn's  suggestion  that  Siegfried  be  killed.  Hagen  and 
(lunther  then  quarreled  over  the  Ring,  and  Hagen  killed  Gunther. 
Hagen  himself  was  drowned  in  a  final  attempt  to  get  it  bv  plunging 
into  the  Rhine  after  Brimnhildc  had  restored  it  to  the  Rhine  Daugh- 
ters, thus  lifting  the  curse. 

It  is  important  to  bear  in  mind  that  the  gods  represented  here  are 
not  immortal.  The  decrees  of  fate  are  inexorable  and  Wotan  having 
oflfended  against  justice  has  involved  the  whole  world,  over  which  he 
rules,  in  ruin  with  himself.  Wotan  is  always  represented  as  having 
only  one  eye.  Fie  carries  a  spear  in  his  hand  with  which  he  can 
cause  thunder  and  lightning. 

Several  orders  of  beings  are  encountered  in  the  course  of  the 
story — the  gods,  like  Wotan,  Fricka  and  Loki ;  the  Xibelungs  or 
dwarfs  who  dwell  underground  and  are  the  workers  in  metals, 
Alberich  and  'Slum  are  types:  the  giants.  Fafner  and  Fasolt;  the 
Yolsungs,  children  of  Wotan  by  a  human  mother.  Siegmund  and 
Sieglinde  and  their  son  Siegfried :  the  Gibichungs.  Gunther  and 
Gutrune.  and  finally,  the  Xiedings,  Hunding's  tribe. Vlain  mortals. 

23 


DICTIONARY  OF  THE  "RING"  OPERAS. 

Der  Ring  des  Nibelungen  (The  Ring  of  the  Nibelungs). 

Alberich,  king  of  the  Xibelungs. 

Brunnhilde,  favorite  daughter  of  Wotan ;  one  of  the  \'alkyrs. 

DoNNER,  see  Thor. 

Erda.  the  all-knowing  prophetess ;  goddess  of  wisdom ;  mother  of  the 
\'alkyrs. 

Fafner,  a  giant ;  killed  his  brother  Fasolt  for  the  Ring. 

Fasolt,  a  giant. 

Flosshilde,  one  of  the  Rhine  Daughters. 

Freya,  goddess  of  eternal  youth. 

Fricka,  wife  of  Wotan,  and  guanlian  of  the  marriage  tie. 

Froh   (Frey,  Freyr),  god  of  fruitfulness ;  brother  of  Freya. 

GiBiCHUNGS,  a  tribe  of  which  Gunther  was  chief. 

Gotterdammerung,  The  Twilight  (or  Dusk)  of  the  Gods;  a  title 
significant  of  their  approaching  doom. 

Grimhilde.  mother  of  the  (iibichungs ;  also  of  Hagen. 

Gunther,  the  Gibichung ;  son  of  Grnnhilde ;  half-brother  of  Hagen. 

GuTRUNE,  sister  of  Gunther. 

Hagen,  son  of  Alberich  and  Grimhilde ;  half-brother  of  Gunther. 

HuNDiNG,  husband  of  Sieglinde  and  slayer  of  Siegmund. 

Leit  Motif  (Leading  Motive),  the  name  expressed  in  music  of  a  per- 
son, object  or  feeling.  Whenever  the  action  of  the  drama 
concerns  such  person,  object  or  feeling,  this  music-name  is 
repeated. 

LoGE  or  LoKi,  the  god  of  fire ;  also  the  god  of  trickery. 

MiMi,  the  Nibelung,  brother  of  Alberich  ;  he  brought  up  young  Sieg- 
fried after  the  death  of  Sieglinde. 

NiBELHEiM,  home  of  the  Nibelungs  (the  underworld). 

Nibelungs,  a  race  of  dwarfs  inhabiting  the  interior  of  the  earth. 

NiEDiNGS,  a  band  of  robbers;  Hunding  was  one  of  them. 

NoRNS,  the  Fates  in  Norse  mythology. 

NoTHUNG  (Needful),  the  sword  of  Siegmund,  broken  in  the  fight 
with  Hunding;  forged  anew  by  Siegfried. 

Rhine  D.\ughters,  nymphs  of  the  Rhine  and  guardians  «)f  its  treas- 
ure, the  Rhinegold. 

RiiiNEGOEi),  a  mass  of  pure  gold  imbedded  in  a  rock  in  the  Rhine.  It 
possessed  magical  ])roperties.     See  Ri.nc;  and  T.\rnhelm. 

Ring,  the  Ring  made  from  the  Rhinegold,  which  endowed  its  wearer 
with  power  over  all  living  lieings,  gods  as  well  as  mortals, 
it  became  an  object  of  gri'at  desire  to  all,  in  spite  oi  the  awful 
ciu^se  upon  it. 

Ring  Oi'ERAS,  Das  Rheingold,  Die  Walkiire.  Siegfried  and  Gotter- 
dammerung. The  one  story  runs  all  tlu-ough  these  four 
ojXTas,  though  laeh  is  complete  in  itsell'. 


Siii;!  Kill),  son  of  Si<.'j;niuiui  iju\  >ui;liii(if  (  iIk-  X'olsun^s);  this  was 
the  k-arlcss  hero  who  was  to  redeem  the  jj;o(ls  from  the  curse. 
He  was  stahhed  in  the  .back  In   IIa.u;en. 

SiKci.iNDK.  sister  and  wife  of  Sief^mimd.  In  mytholoj^ical  times  such 
iniions  were  not  res^arded  witli  the  horror  that  would  attach 
to  lliem  now. 

SiECMUNi).  the  Xolsunsj.  son  of  WOtan  and  fatlur  of  Siegfried. 

T.\k.\iii:L-M,  a  hehnet  made  of  the  Rhinefjold.  which  rendered  its 
wearer  invisible  and  also  enabled  him  to  assume  any  shape  he 
desired. 

TiioR  (Donncr).  god  of  thunder;  brother  of  I-Veya. 

V.\i.ii.\LL.\.  home  of  the  gods. 

\'.\i.K\  Rii:s.  "Choosers  of  the  Slain."  Their  mission  was  to  visit  bat- 
tlefields and  to  fetch  the  bodies  of  dead  heroes  to  Valhalla, 
the  heaven  of  warriors.  They  rode  on  horses  through  the 
air,  and  were  armed  with  s])ejfr,  breastplate  and  shield.  They 
were  the  daughters  of  W'otan  and  Krda ;  their  names  were 
Briinnhilde.  (lorhilde.  (irimherde,  Flelmwige.  ( )rtlinde.  Ross- 
weisse,  Siegrune.  Schwertkite  and  Waltraute. 

Valse  or  \'oLSE.  a  name  assumed  by  Wotan  ;  see  X'oi.suxg. 

V.\LSUXG  or  \'or.SLXG.  children  of  Wotan  by  a  human  mother.  Wo- 
lan's  compact  with  Fafner  prevented  any  of  the  gods  from 
attempting  to  recover  the  Ring ;  yet  there  was  always  the 
danger  that  ,the  Xibelungs  might  regain  it  from  the  giant 
and  thus  bring  about  the  destruction  of  the  gods.  Wotan 
therefore  founded  this  family  of  \'olsungs.  hoping  that  there 
might  arise  from  them  a  hero  who  would  be  able  to  take  the 
Ring  from  Fafner  and  b}-  restoring  it  to  the  Rhine  Daughters 
lift  from  the  world  the  curse  which  Alberich  had  placed 
upon  the  gold.  His  plans  failed  because  Siegmund  and  Sieg- 
linde  offended  against  the  sanctity  of  marriage  and  aroused 
the  ire  of  Fricka,  who  compelleil  \\'otan  to  withdraw  his  pro- 
tection from  them :  and  Siegfried,  their  son.  was  killed  by 
Hagen. 

Walhall.\,  see  \'alhalla. 

Walkure,  same  as  \'alkyries. 

Walse  or  Walsuxg,  see  \'alsr  and  \'ai.suxg. 

Waltraute,  one  of  the  \'alkyries. 

Wanderer,  Wotan  in  "Siegfried." 

Wellgunda,.  one  of  the  Rhine  Daughters. 

WoGLiXDE,  one  of  the  Rhine  Daughters. 

WoTAX,  father  of  the  gods. 


DAS  RHEINGOLD.  Composer,  Wagner. 

RHINEGOLD.  ^'°*''  ^  ^^"^  ^^•°'' 

ACT  I.  The  Rhine  Daugliters  arc  guarding  the  Rhinegold. 
Alberich,  king  of  Xibelheim,  appears  and  tries  to  catch  one  of  the 
maidens ;  they  all  elude  him,  make  sport  of  his  awkward  wooing. 
He  sees  the  Rhinegold  shining,  and  learns  from  its  guardians  of  the 
wonderful  powder  it  possesses.  Whoever  fashions  a  Ring  from  it 
becomes  the  ruler  of  the  world — but  he  must  renounce  love.  Alberich 
suddenly  makes  a  dive  for  the  treasure  and  succeeds  in  carrying  it 
ofif,  to  the  dismay  of  the  Rhine  Daughters.  In  the  next  scene.  W'otan 
and  Fricka  behold  for  the  first  time  the  new  castle  of  Walhalla  which 
the  giants  Fafner  and  Fasolt  have  built  for  them.  Freya.  goddess 
of  eternal  youth,  rushes  in  and  begs  for  protection  from  the  giants ; 
Wotan  had  promised  that  she  should  be  theirs  as  reward  for  their 
labor  in  building  the  castle.  Thor  and  Froh,  brothers  of  Freya,  try 
to  protect  her.  Wotan  reminds  them  that  the  compact  must  be  kept. 
Nevertheless,  he  anxiously  awaits  the  return  of  Loki,  whom  he  has 
sent  to  search  the  whole  world  for  a  suitable  ransom  for  Freya.  At 
length  Loki  appears ;  he  has  found  among  all  peoples  that  "woman's 
worth  and  love"  are  held  priceless.  The  gods  are  in  despair  at  the 
prospect  of  losing  Freya.  Loki  relates  the  story  of  the  theft  of  the 
Rhinegold,  declaring  that  Alberich  alone  of  all  creatures  valued  gold 
above  woman.  Then  he  describes  the  wonderful  properties  of  the 
gold  in  such  glowing  terms  that  the  greed  of  the  giants  is  excited 
and  they  announce  that  they  will  exchange  Freya  for  the  treasure. 
Meanwhile  they  hold  Freya  as  security.  As  they  lead  her  away,  the 
gods  visibly  grow  older,  having  lost  eternal  youth.  Wotan  and  Loki 
descend  to  Nibelheim  where  Alberich  had  taken  the  gold.  Sckxk  3. 
Alberich  snatches  from  Mimi  the  "i'arnhelm,  made  from  the  Rhine- 
gold.  This  magic  helmet  has  the  virtue  of  rendering  its  wearer 
invisible,  and  also  gives  him  the  power  to  assume  any  sha])e  he  may 
w^ish.  Alberich  puts  on  the  helmet  and  vanishes.  Fnter  Wotan  and 
Loki.  Alberich  retiUMis,  and  seeing  them  he  lirags  of  his  ]X">wer,  even 
threatening  to  overwhelm  Walhalla  itself.  He  puts  on  the  Tarnhelm 
and  changes  himself  into  a  huge  serpent.  Loki  cunningly  challenges 
him  to  assume  the  form  of  a  toad,  and  when  he  does  so,  Wotan  and 
Loki  seize  and  bind  him.  Scene  4.  Alberich  is  compelled  to  give 
up  his  ill-gotten  wealth,  including  the  Tarnhelm  and  the  Ring.  He 
puts  a  curse  upon  the  Ring  and  its  possessor  forever.  The  giants 
insist  that  the  i'iing  and  the  Tarnhelm  are  part  of  Freya's  ransom. 
Wotan  reluctantl}'  gives  up  the  'i'arnhelm.  but  greedily  hoUls  on  to 
the  Ring.  Frda  a])pcars  and  warns  him  of  the  curse.  Instead  of 
giving  the  Ring  back  to  the  Rhine  Daughters.  W(Uan  hands  it  over  to 
the  giants,  whd  inuiudiately  fall  to  f|uarre1ing  over  it.  b'afner  kills 
L'asolt,  i^roving  that  the  ciu-se  is  effective.  Thor,  the  gixl  of  thunder, 
with  his  hammer  drives  away  the  lowering  clouds;  all  lieliold  the 
stately  castle  of  Walhalla.  their  new  home.  (  )n  a  bridge  formed  by 
a  rainbow,  the  gods  emss  ii\rr  in  Huir  nrw  strdughnld.  Loki  being 
the  last    to   follow. 


DIE   WALKURE.  Composer.  Wagner. 

THE  VALKYRIES.  ^""''  °"  '^'  ^^'"'• 

Ac  r  1.  Hut  of  1  liindiiiii.  the  rohlKr.  huilt  aioiiiul  a  j^rvat  ash 
Iri'o.  Siognnind,  the  Volsunp:.  ilecinjr  from  i)ursucrs,  enters  and  sinks 
exhausted  on  the  hearth.  Sie.t,dinde.  wife  of  Hundinj:;:.  finds  him 
there.  HuiKhn^:  returns  and  invites  him  to  remain  as  j^nie.st.  Sieg- 
niund  relates  his  story,  how  his  twin  sister  was  stolen,  his  mother 
killed  and  later  his  father  disappeared.  Then  Sie.u;mnnd  ineurred  the 
enmity  of  the  Xiedings  and  in  fiu'it.  killed  one  of  them.  Hundinp 
belono:s  to  this  tribe,  and  he  is  compelled  to  avenge  the  death  of  his 
kinsman,  but  the  laws  of  hospitality  demand  that  he  shelter  his  guest 
for  the  night.  He  notifies  Sicgmund,  though,  that  in  the  morning 
he  will  exact  satisfaction.  Sicglinde.  whose  growing  interest  in  the 
stranger  is  very  marked,  mixes  a  sleeping  i)otion  in  Hnnding's  night 
draught.  Siegmund  is  left  alone.  Sicglinde  returns  and  tells  him 
how  at  her  wedding  with  Hunding.  a  stranger  (Wotan.  their  father) 
appeared.  He  buried  the  blade  of  a  sword  in  the  trunk  of  the  ash 
tree,  leaving  only  the  hilt  visible.  He  told  her  that  the  sword  be- 
longed to  the  man  who  could  pull  it  out.  All  the  tribesmen  tried  to 
])ull  it  out,  but  in  vain.  Siegmund  and  Sicglinde  recognize  each  other 
as  brother  and  sister;  their  mutual  sympathy  quickly  ripens  into  love, 
and  they  resolve  to  fly  together.  The  hilt  of  the  sword  is  grasped  by 
Siegmund.  who  pulls  it  out. 

ACT  n.  ^^'otan  orders  Briinnhilde.  tlie  A'alkyr.  to  aid  Sieg- 
mund in  the  coming  fight  with  Hunding.  l^ricka.  guardian  of  the 
marriage  tie,  demands  that  the  victory  be  given  to  Hunding,  and 
\\'otan  is  compelled  to  promise  that  it  shall  be  so.  Briinnhilde  re- 
turns, and  he  relates  the  story  of  the  ^''olsungs — Siegmund  and  Sicg- 
linde— how  he  had  hoped  through  this  race  to  redeem  the  gods  from 
the  curse,  but  fate  had  willed  otherwise  and  he  must  bow  to  its 
decrees.  He  orders  her  to  defeat  Siegmund.  Siegmund,  supporting 
Sicglinde,  appears,  the  latter  exhausted.  Briinnhilde  warns  Siegmund 
that  he  must  away  to  Walhalla.  He  asks  if  Sicglinde  may  bear  him 
company,  and  being  told  she  may  not,  he  refuses  to  go ;  rather  than 
leave  her  alone,  he  will  kill  her.  Briinnhilde  then  declares  she  will 
disobey  Wotan  and  help  him — not  Hunding.  In  the  fight.  Briinn- 
hilde shields  Siegmund,  but  when  he  is  about  to  give  Hunding  the 
fatal  thrust  with  his  sword,  Wotan  interferes  and  shatters  Siegmund's 
sword,  enabling  Hunding  to  kill  him.  Briinnhilde  flees  from  her 
father's  wrath,  taking  Sicglinde  with  her. 

ACT  HI.  Home  of  the  A'alkyrics ;  Briinnhilde  enters  with  Sicg- 
linde. She  begs  her  sisters  to  shield  Sicglinde,  but  they  fear  Wotan 
too  much.  r)riiiinhilde  gives  Sicglinde  the  pieces  of  Siegmund's 
sword  and  bids  her  flee  into  the  forest ;  she  remains  to  brave  Wotan's 
wrath.  When  Wotan  appears.  r)riinnhilde  makes  no  defense  except 
to  say  that,  divining  the  secret  wish  of  her  father's  heart,  she  had 
tried  to  give  the  victory  where,  had  he  been  free,  he  would  have  had 
it  go.  Wotan  is  bound  to  punish  her,  but  their  leave  taking  is  most 
pathetic.  He  pronounces  her  doom :  A  deep  sleep  shall  fall  upon 
her ;  w-hoever  wakes  her  shall  have  her  for  his  bride.  Briinnhilde 
pleads  with  her  father  that  at  least  she  shall  be  surrounded  by  such 
dangers  that  only  a  hero  would  brave  them.  He  grants  her  prayer 
and  commands  Loki.  the  god  of  fire,  to  enclose  her  in  a  wall  of  flame 
after  he  has  cast  her  into  the  sleep. 

27 


SIEGFRIED.  Composer,  Wagner. 

Scene,  On  the  Rhine. 

Mimi.  the  Nibeluno;.  had  sheltered  Sieghnde  when  she  tied  from 
Wotan's  wrath.  She  ched  when  Siegfried  was  born,  and  he  had 
brought  up  the  child,  knowing  that  he  was  destined  to  overcome 
Fafncr  and  thus  come  into  possession  of  the  magic  Ring  which 
insured  to  its  possessor  the  rulcrship  of  the  world. 

ACT  I.  Mimi  at  the  forge  trying  to  make  a  sword  for  Sieg- 
fried the  fearless ;  but  when  the  young  hero  tries  it.  it  breaks  like 
all  the  others.  Siegfried  asks  who  his  parents  were.  Mimi  tries  to 
convince  him  that  he  was  both  father  and  mother  to  him ;  Siegfried 
scof¥s  at  this,  declaring  that  he  has  noticed  that  the  young  always 
resemble  their  parents.  Becoming  impatient,  he  compels  the  dwarf 
to  tell  him  all  he  knows  of  his  birth.  'Slum  does  so,  and  brings  out 
the  pieces  of  Siegmund's  sword  in  proof  of  his  story.  Siegfried 
orders  him  to  make  a  new  sword  out  of  the  pieces,  then  goes  out. 
Enter  W'otan  (the  Wanderer)  ;  lie  and  ]\Iimi  go  over  the  whole  story 
of  the  Ring.  Wotan  accidentally  lets  his  spear  touch  the  ground, 
and  a  jjeal  of  thunder  startles  the  dwarf.  Siegfried  returns;  the 
sword  has  not  been  fashioned,  and  he  sets  about  forging  it  himself. 
Mimi  asks  him  if  he  knows  what  fear  is;  Siegfried  does  not.  but  is 
willing  to  learn  this  new  accomplishment.  ]\Iimi  tells  him  about  the 
giant  Fafner.  who  has  changed  himself  into  a  serpent  and  dwells  at 
the  end  of  the  forest — a  visit  there  will  surely  teach  Siegfried  to  fear. 
Siegfried  has  finished  the  sword  by  this  time,  and  now  sings  the  beau- 
tiful song  to  this  sword.  "Nothung"  (  "Xeedful"' ).  Then  he  sets  out 
to  learn  what  fear  is.  Mimi-^«--pl;ui  is  to  let  Siegfried  kill  the  ser]K'nt ; 
then  to  give  the  hero  a  poisoned  drink,  and  when  Siegfried  is  dead 
Mimi  will  possess  himself  of  the  Ring,  the  Tarnhelm  and  the  rest  of 
the  treasure. 

ACT  II.  Night  in  the  forest.  Alberich  learns  from  Wotan  of 
Siegfried's  approach,  and  tries  in  vain  to  inchice  the  giant  to  give  him 
the  Ring.  ])romising  to  help  him  defend  the  rest  of  the  treasure.  At 
dawn  Mimi  and  Siegfried  arrive.  Mimi  retires  and  Siegfried  listens 
to  the  Waldweben  ("Forest  Weaving"),  in  wliicli  ilie  music  imitates 
the  singing  of  birds,  the  rustling  of  leaves  and  other  forest  sounds. 
Fafner  comes  out,  and  Siegfried  slays  him.  lie  happens  to  taste  the 
dragon's  blood,  and  at  once  understands  what  ihe  birds  are  saying.  A 
songster  on  a  branch  alcove  him  tells  him  where  to  fintl  the  treasure. 
Presently  Siegfried  returns  with  the  Ring  and  (he  Tarnhelm.  The 
bird  now  warns  him  against  .Mimi,  who  offers  Siegfried  a  ]ioisonetl 
drink.  Siegfried  kills  him.  'I'he  i)ird  then  iells  him  about  llriinnliildf. 
and  how  the  liero  wbo  l)raves  the  fiery  wall  about  her  shall  ha\-e  her 
for  his  bride.      Tlu-  bird  llics  l)efore  him  to  show  the  way. 

ACT  ill.  'Ihe  Wanderer  .seeks  comfort  from  I'^rda  ;  bm  she  can 
give  none.  The  gods  are  doomed.  .\s  I'.rda  vanishes  Siegfried  rushes 
in,  following  thr  l)ird.  Wotan  obstructs  him.  Siegfried  shatters  his 
spear  with  the  sword  Xotluing.  .\  clap  of  tlumder  follows.  Wotan 
de])arts.  .Soon  .Siegfried  reaches  the  rock  where  ilriinnhilde  lies  sleep- 
ing, lie  (lashes  through  the  ilames.  removes  her  armor  and  awakens 
her  with  a  kiss. 


DIE   GOTTERDAMMERUNG.  Composer.  Wagnrr. 

THE  TWILIGHT    (OR    DUSK)   OF  Scene,  On  the  Rhine. 

THE  GODS. 

PRELUDE.  The  three  Xorns  unravehns^  the  secrets  of  the  past, 
the  present  and  the  future.  The  tliread  snaps ;  as  dawn  approaches 
they  hasten  away,  foretelhng;  the  doom  of  the  gods.  The  N'alkyrie 
rock.  Siegfried  about  to  set  out  in  search  of  new  adventurts  gives 
tile  magic  King  to  Uriinnhilde.  and  she  bestows  upon  him  her  horse 
Crane  and  her  shield. 

ACT  I.  Hall  of  the  Cibichungs  on  the  Rhine,  (iunther  and 
Cutrune  seated  on  a  throne,  Hagen  their  iialf-brother.  below  them. 
The  latter  tells  of  Siegfried's  exploits,  and  suggests  that  he  would  be 
a  suitable  mate  for  Cutrune.  whUe  Uriinnhilde  would  make  a  worthy 
wife  for  (nmther.  Hagen  conceals  the  fact  of  I'runnhilde's  marriage 
tt>  Siegfried.  Hagen  hopes  in  some  way  to  secure  the  King  if  Sieg- 
fried can  be  lured  away  from  Briinnhilde.  Siegfried  now  appears  and 
is  welcomed  by  Cunther.  Cutrune,  at  the  suggestion  of  Hagen,  brings 
to  the  guest  a  draught  in  which  she  has  mixed  a  love  potion  which 
makes  the  hero  forget  Briinnhilde  entirely  and  fall  in  love  with  herself. 
As  he  raises  the  cup,  he  drinks  to  I'riinnhilde.  but  almost  immediately 
begins  to  look  upon  the  fair  (iutrune  with  growing  admiration,  and 
soon  demands  her  hand  in  marriage,  (junthcr  consents  on  condition 
that  Siegfried  shall  bring  Brunnhilde  to  him.  They  seal  the  compact 
with  their  blood,  and  Siegfried  sets  out.  Hagen  is  left  to  guard  the 
hall.  In  the  next  scene  W'altraute.  one  of  Briinnhilde's  sisters,  pleads 
with  her  to  return  the  fatal  Ring  to  its  rightful  guardians,  the  Rhine 
Daughters,  and  thus  avert  the  disaster  that  threatens  W'alhalla. 
Briinnhilde  will  not  part  with  this  pledge  of  Siegfried's  love.  Soon 
Siegfried's  horn  is  heard ;  she  goes  to  meet  him.  He  appears,  but  by 
virtue  of  the  Tarnhelm  has  assumed  Cunther's  form,  and  when  he 
commands  her  to  follow  she  fiercely  resists.  He  seizes  the  Ring,  and 
she  is  powerless.  Drawing  his  sword,  he  places  it  between  them  to 
signify  that  in  his  wooing  of  Briinnhilde  for  Cunther  he  has  kept 
faith. ' 

-ACT  II.  Hall  of  the  Cibichungs.  Black  Allx^rich  urges  his 
son  Hagen  to  secure  the  Ring.  Dawn  approaches.  Siegfried  hastens 
to  tell  Cutrune  how  he  won  Briinnhilde  for  Cunther.  and  that  the  lat- 
ter and  his  bride  are  following.  Hagen  calls  the  vassals  and  bids 
them  prepare  the  wedding  feast.  Cunther  leads  in  Briinnhilde:  she 
keeps  her  eyes  on  the  ground  until  she  hears  Siegfried's  name  spoken 
as  he  comes  forward  with  (jutrune.  She  is  horrified ;  sees  the  magic 
Ring  on  his  finger  and  declares  he.  not  Cunther.  is  her  husband.  Sieg- 
fried (still  under  the  spell  of  the  potion  administered  by  Cutrune)  in- 
dignantly denies  her  charge  and  swears  it  on  Hagen's  spear.  Briinn- 
hilde likewise  swears  that  she  speaks  the  truth.  Briinnhilde.  Cunther 
and  Hagen  are  left  alotie.  (^nly  Siegfried's  death  can  atone  for  the 
wrong  he  has  done,  and  Hagen  suggests  that  at  to-morrow's  hunt.  Sieg- 
fried be  killed.     To  this  the  others  agree. 

ACT  III.  The  Rhine  Daughters  implore  Siegfried  to  restore 
the  Ring  to  them,   warning  him  that  if  he  keeps  it  he  will  die  that 


29 


very  clay.  .  .Vs  they  disappear,  Hagen.  (iunther  and  the  others  arrive. 
Siegfried  is  led  to  Lell  the  story  of  his  life.  Hagen  with  fiendish  de- 
sign, gives  him  a  draught  whicli  restores  the  faded  memory  of  Pjriinn- 
hildc's  rescue  and  Siegfried's  marriage  to  her.  The  young  hero  tells 
how  he  killed  the  giant,  how  the  bird  warned  him  against  Mimi  and 
then  led  him  to  the  Valkyrie  rock,  and  finally  how  he  braved  the  fire 
and  won  Briinnhilde.  The  others,  thinking  he  is  speaking  of  the 
occasion  when  he  went  to  woo  Briinnhilde  for  Gunther,  are  shocked 
by  the  open  avowal  of  his  treachery ;  and  Hagen  seizes  a  moment  when 
Siegfried's  back  is  turned  to  thrust  a  spear  into  him.  Hagen  hurries 
off,  and  the  others,  placing  Siegfried's  body  upon  his  shield,  bear  him 
toward  the  castle  to  the  accompaniment  of  the  matchless  strains  of  the 
"Siegfried  Death  Music."  First  the  mere  mutterings  of  sullen,  almost 
speechless  grief ;  at  length  the  outbreak  of  wrath  and  despair  when  it 
is  realized  that  he  who  lies  dead  was  the  one  for  whose  coming  gods 
and  men  had  hoped  and  prayed,  whose  death  involved  the  annihilation 
of  the  existing  order  of  things.  The  hall  of  the  Gibichungs  is  next 
shown.  Hagen  is  telling  Gutrune  that  her  husband  has  been  killed  by 
a  wild  boar.  Gunther  accuses  him  of  the  murder  and  when  Hagen 
tries  to  take  the  Ring  off  Siegfried's  finger,  Gimther  interferes.  Hagen 
kills  him  too.  Then  he  makes  another  attempt  to  get  the  Ring,  but 
the  corpse  raises  its  arm  threateningly,  and  Hagen  shrinks  back. 
Briinnhilde  enters.  She  knows  now  the  treachery  of  which  she  and 
Siegfried  were  the  victims,  and  she  forgives.  Siegfried's  body  is 
placed  on  a  funeral  pyre,  which  she  mounts  on  her  horse  Grane,  hav- 
ing first  placed  the  Ring  on  her  own  finger.  The  Rhine  Daughters 
recover  it.  Hagen  plunges  into  the  Rhine  in  a  last  attempt  to  get  the 
Ring,  but  he  is  dragged  below  by  the  indignant  Rhine  Daughters. 
Walhalla  is  seen  on  the  heights  to  be  burning,  and  the  "Twilight  of  the 
Gods"  deepens  into  endless  night.  A  woman's  sacrifice  has  estab- 
lished love  as  the  ruling  principle  of  the  world  instead  of  greed. 


30 


(i'4oo5.sJ  0)476 


"^^^S. 


MT95.G7 


C036927973 

UC    BFRKELFY  LIBRARIFS 


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DATE  DUE 


Music  Library 

University  of  California  at 
Berkeley 


